KERAMIC STUDIO 
109 
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cism from the rest of the art world . And yet, with this handicap, 
what a tremendous force for good it has been, and the stride 
Keramic Art has made under its guidance is best appreciated by 
those whose memory and experience date back to the early 
history of this craft. We ought to consider this magazine as a 
co-operative enterprise and the subscribers as shareholders. 
We need to take more stock in it. Let us try to appreciate 
more the cultural advantages of such a magazine and depend 
less on the illustrations for copying purposes. Let us strive 
to keep our place, so dearly bought, in the Art world and be 
worthy the respect of the Art workers in all departments. 
This we cannot do with a narrow personal point of view. What 
we need is more sincerity, more appreciation, more loyalty 
and a larger vision. We must be more democratic. We must 
be willing to share our magazine with others whose point of 
view differs from our own, hoping that time and experience 
will result in closer harmony of ideas and taste. 
Let us make 1917 Rally Year. Concerted effort, with the 
good of the craft at heart cannot but result in good for the 
individual workers. Now all together! 
K-E-R-A-M-I-C — Keramic Studio! Har-mo-neel 
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ENAMELS FOR UNITS 
No. 1 — Flower — Dark Blue, outer edge a lighter Blue. 
Spots and stamens orange. Leaves and stems strong, rich 
Green No. 2. 
No. 2 — Flower Dark Blue. Large drop same. Stamens 
orange. Leaves and stem rich green. Spots next to center 
Turquoise Blue. Oval drops next, Turquoise Green. Outer dots 
deep Coral Red. 
The units above in whole or in part will be found useful 
for repeats or medallions on various shapes. They are Persian 
in outline, brilliant in color and will make attractive decoration 
on white, ivory or grey grounds . They will be most effective on 
soft wares in high relief but may be used on hard glaze ware 
in low relief with hard glaze enamels. 
HENRIETTA BARCLAY PAIST, nee WRIGHT 
Adelaide Alsop Robineau 
Mrs. Paist took up the decoration of china in 1889 and has 
worked continuously since, doing miniature and figure work 
as well as decoration on porcelain. She has not confined her- 
self to the decoration of china but has applied her knowledge 
of design to pottery, leather, stenciling and wood block print- 
ing, and has also worked in the department of fine arts, using 
both water colors and oils. 
Mrs. Paist is well known as a teacher in all the large 
cities of the West. She was for a number of years a prominent 
member of the old N. Y. S. K. A., being one of the first deco- 
rators to break away from the naturalistic. She received a 
medal in Chicago in 1896 for the best of 108 exhibits at the 
Old Western Decorating Works (National Exhibition), also an 
